Carpets in paintings by Gérôme, his former pupil Osman Hamdi Bey, Georges Rochegrosse, Pierre Bonnard and Paul Nash.
Three sisters in Millais’ romantic gloss on the Jacobite rebellion of 1745. One became Roussel’s lover, another Godward’s favourite nude, and the third married a musician.
A girl is brought up as a boy. All goes well until they want to marry. Then the gods intervene. A very modern story from 2,000 years ago, with paintings.
Looking and sniffing at one of the toughest non-visual theme for paintings. Can any go beyond mere allegory and ev0ke the sensation?
Why are there two tortoises in the foreground of Moreau’s ‘Orpheus’? After a journey through Zen Buddhism, fables, and political allegory, the answer may be more obvious.
A popular title in the 19th century, it is almost a hallmark of the Aesthetic movement: no narrative, no meaning, just art for art’s sake. Except…
Beautiful paintings, devoid of narrative, symbols, or meaning. They represent the height of the Aesthetic movement: ‘pure’ art.